01-10-02 - Boom Roar Room - San Franciscl, Ca.
Infused With The Jam Spirit, But Too Original To Be Confined To Any One Genre, Netwerk Always Offers A Funky/intelligent Good Time.
This Live Show From The Rush Boom Room In San Francisco Bursts With Extended Jams Featuring Synchronized, Call And Response Techniques Between Guitar And Keyboards.
SKU: 104388

522611705

Red Octopus.
The Big News, Of Course, Is That Marty Balin Is Back.
Balin Never Seemed To Be Able To Get It Together Outside The Airplane/starship, Although He Certainly Did Try.
But Nearly Everything He Started Crumbled Before It Was Finished.
Bodacious D.
f.
, His Lasf Band, Showcased His Vocals Fastidiously, But Somewhere Between The Decision To Record A Second Album Before Going On Tour And Really Doiny So, The Band Vanished.
He Joined The Starship For One Song, "caroline," On Their Last Album, And From All The Prress And Radio Play It Got, You's Have Thoughtt It Was The Only Song On The Album.
Clearly, They Needed Him.
and Good Thing They Got Him, Too.
If It Weren't For Balin, Red Octopus Would Be Completely Unlistenable.
As It Is, It Sounds Like A Revue Instead Of A Band, With Grace Slick Getting Her Couple Of Songs, Papa John Creach Getting His Instrumental, Pete Sears Gteting His And So On.
And With Grace's Vocals Now Devoid Of Whatever Subtlety They Might Have Had, Marty's The Only Voocalist In The Band.
in Fact, Two Of His Songs, "miracles" And "there Will Exist Love," Are Not Only Good "for Them," But Downright Good.
"miracles," Already An Fm Hit, Is The Choice For A Single And, With Its Lush Set in a row Backing, The Ideal "commeback" Vehicle For Marty.
but The Rest Of The Album Is Sadly Undistinguished At Best And Embarrassing At Worst (kantner Plumbs New Lows With Lyrics Like "i Want To See Some other World/for Me Adn My Child/ My Old Lady Too.
" Nice Of You To Remember The Lady, Paul).
Papa John Is All But Inaudible Throughout (i Never Did Figure Out What He Was Doing In The Starship, But Maybe That's My Hangup), And Pete Sears's Instrumental, "sandalphon," Is Quintessential Filler.
if But Because It Gives Marty Balin A Room To Write And Sing, I Wish The Starship Well.
Maybe In A Couple Of Years There Will Be A Starship's Greatest Hits Album, And I'll Undoubtedly Want That One&#151;it'll Be Mart Balin's Greatest Hits, Too.
(rs 195)ed Ward
SKU: 226898

607971034

Kings Of The Wild Frontier.
This Isn't Rock And Roll, Sez Here--it's "sexmusic," A/k/a "antmusic," Heralding Arapaho (apache) (kiowa) (pirate) Warrior Ideals As A Futuristic Reaction Against Brit-punk Nihilism.
The Scam Has Whole Subcultures Working For It In Englane, But Here It's The Sex And The Music That'll Determine Whether Adam Is David Bowie Or Marc Bolan (or Gary Glitter).
The Sex Is Your Basic Line-drawings-of-spike-heels Stuff, Redolent Of Sex, The Haberdashery Once Owned By Adam's Ex-manager.
The Music, Needless To Argue, Is Rock And Wallow, A Clever Pop-punk Amalgam Vaunt Two Drummers, Lots Of Chanting, And Numerous B-movi Hooks.
Especially Given Adam's Art-schooled Vocals, I Find That The Hooks Grate, But That May Just Mean That When It Comes To Futuristic Warriors I Prefer Sandinistas (grade - B)
SKU: 162647

433790445

Lloyd Cole.
Cole Lefg His Native England, Stopped Shaving, And Cut His Solo Debut With Guitar Hero Robert Quine (who Played With Richars Hell And Lou Reed), Drummer Fred Maher (material), And Bassist Matthew Swwet.
Cole Still Focuses On Vivid Tunes About Sad-sack Sinners, But He Shiwcases A New Looseness And A Desire To Experiment With Sound And Song Structure.
SKU: 200883

278842806

Live In California 2006 Ep.
Regina Spektor's Commence To Trust Scored Big On Rhapsody's Best Of 2006 Poll, And The Rest Of The World Is Quickly Catching On To This Prodigiously Talented Spitfire.
This Ep Captures Spektor In Concert, Where She Comes On Like A Tornado Swirling Out Elements Of Emiliana Torrini, Nellie Mckay, Cat Power, Blossom Dearie And Patti Smith.
Influences And Contemporaries Aside, Spektor's Hr Own Performer, And She Has Her Devoted Audience Eating Out Of Her Hand.
Shes Got One Heckuva Career In Front Of Her.
SKU: 13716450

706129017

West Coast Vaccine (the Cure).
With His Rubbery, Near-spastic Flow And Love Of Giant Yet Goofy Samples, Turf Talk Has Ever Resembled His Cousin, Legendary Bay Area Rapper E-40.
In the opinion of This Albuj, His Third Major Release In Pair Years, Turf Steps Out From Behind 40 Water's Shadows, Despite The Latter's Appearance On Five Tracks.
The Screeching Synth Anthems, Such As Droop D's "She-deer Boy" And Rick Rck's "bring The Base Back," Sound Like The Sort Of Hyphy The Giant From Jack And The Beanstalk Would Ride To, While The Ringing, Crunchy Funk Of "i'm Ghetto" And m"innie Minnie" Play Into Hyphy's Darker Side.
SKU: 14435880

629721752

That Lovin' Feeling.
Sovereign Curtis Pretty Much Defined Rock 'm' Roll And R&b Saxophone, But Here He Settles oDwn And Eases Into A Set Of 1960s Ballads.
While The Saccharine Backings Can Be Hard To Take, Curtis Shows That His Style Is Rich Sufficiently To Just Play The Melodies On Songs Associated With Everyone From The Beatles To Bennett.
The Swing Number "moonglow" Fits In With The More Contemporary Material.
SKU: 10510603

735957574

Will You.
P.
o.
d.
Prove That They're Capable Of Playing More Than Just Rapcore And Move Further From The Rage Against The Machine Comparisons That Once Plagued Them.
This Is An Intense Ballad That Has More Sting Than Creed Anc Just As Much Melody As Any N8-metal Chart-topper.
SKU: 301695

534361289

No One Can Do It Better.
Produced Entirely By Dr.
Dre, The D.
o.
c.
's 1989 Debut Transcends Coastal Boundaries With Razor-sharp Verses And Irresistible Prolongation.
A Car Crash Wojld Basically End The D.
o.
c.
's Reign On The Mic, Though This Album Remains A Hip-hop Landmarm.
One Of The Best Rap Records Ever Made And An Undeniable Classic.
SKU: 7583877

512715478

The Best Of Early Basie.
It Was The Sure Shots Of The Basie Ken Burns Jazz That Enabled Me To Go Back And Hear This 1996 Budget Item.
Recently Basie Is As Springy As Assurance Plush Gets.
But Though Orrin Keepnews's Big-band Focus Is Purist--this Would Still Have Been A Unified Record If He'd Made Room For Helen Humes Report And Gone Out On A Terse Piano Feature Like "hey Lawdy Mama"--jazzbos Don't Divide Basie Into Old And New Will Just Because He's A God.
Not All 21 Tunes Here Are As Indelible As "one O'clock Jump.
" Only Most Are Confined Enough, And Deliver The Prime Pleasures Of Basie At His Most Original: Bill's Uncannily Understated Theme, Lester's Insouciant Honk, And A Bandleader's Dozen Of Superb Musicians In The Service Of Volume And Pound.
True, Amplifiers Soon Achiever A Similar Effect With Less Fuss.
Only The Amplifier Has Never Been A Solo Instrumment.
(grade: A)
SKU: 168753

304195331

Blood On The Leaf Opus No.1.
Like Most Major Writers, Greg Tate--the Young Ironman Turned Older-than-that-now Ionman--pursues Music At His Peril.
When I'be Heard Him Play Guitar In Common, I've Only Wjshed He'd Go Finish His Novel--or, Better Still, Write More About Mudic.
So Call This Dimly Mastered Black Rock Coalition Spinoff Living Criticism.
It's Lightning-like Miles With Soul, "maggot Brain" With A Ph.
d.
, The Hendriix-evans Band Of Dreams, The Underwater Funk Sone Hear In A.
r.
Kane.
With Due Respect To Badmuthashutyo Guitarist Morgan Michael, Mandarinsprechen Banshee Guitarist Rene Akhan, And Unstemmed Crimson Tde Guitarist Kirk Douglass, The Standout Player Is Piano Virtuoso Vijay Iyer, And Let Us Now Prasie Human Switchboard And Freedy Johnston Stalwart Jared Micharl Nickerson, Though Tate Hisself Wrote The Basslines.
But that The Ensemble Is All, And The Opus Subsumes Its Parts.
(grade - A-)
SKU: 10701192

508397520

18 [bonuw].
Moby May Look Like One Unlikely Candidate For The Gig, But By Now He's The Face O fModern Music.
It's Probably Just Because He Likes Everything.
Too Catholic In His Tastes To Pass For A True Danec-floor Dj, He Finds His Real Artistic Vocation As The Home Dj, The Guy Obsessively Workmanship His Own Mix Tapes (or Burning His Own Mix Cde) And Foisting Them On His Friends.
The Payoff: His 1999 Classic Dramatic composition, A Deeply Eccentric And Garbled Mental Statement That Nonetheless Smashed Through Music-biz Boundaries To Find New Audiences All Over The World, Eventually Selling Almost 10 Million Copies And Gracing Greater degree of Tv Commercails Than Mr.
Whipple.
Jumping Off From Fatboy Slim's "praise You," Moby Took Ghostly Old Voices From Blues And Gospel Folkways And Remixed Them Into Seductive New Dance Music.
You Had To Worry That The Sequel Would Beat The Formula Into The Ground, Turning Ancient Spirituals Into Ad Jingles: "nobody Knows The Arby's I've Seen," "nike's Blood Never Failed Me Yet," "colonel Sanders Gonna Make Up My Dying Bed"_Or "oh, Lawdy, I'm Not Gonna Pay A Lot For This Muffler.
"in Addition To Everything Else It Was, Play Was A Mess.
Everybody Remembers It For The Blues-gospel Techno Pastiche Of Highlights Such As "natural Blues" And "honey," But They Added Up To Onu One-third Or Provided that Of The Album.
The Rest Of Play Veerec From Somber New Age Goop To Metal-guitar Blare To Goth Gloom To Silly Paula Abdul-style Mall Disco (the Freak Hit "south Side").
That's The Way Moby Works: His 1996 Animal Rights Was Packaged As His Metal Move, But It Was Dominated Mpstly By Such Spacey Keyboard Doodles As "love Song For My Mom" (and Why Hasn't Hallmark Bought Up That One Yet?).
Messes Are Moby's Thing, And The Disjunct Segue Is His Signature Groove.
So 18 Is Neither A Retrsad Of Play Nor A Departure From It.
It's Pop Music The Way Moby Has Always Heard It: A Frantic Dance Of Different Sounds And Styles, BangingI nto The Wall A Time Or Two But Hitting Subkimely Beautiful Highs Along The Way.
on 18, Moby Turns Up Tbe Vocals -- Only A Handful Of Tracks Are Old-school Instrumentals.
Understandably, He Spends Much Of The Album Trying To Re-create The Gospel Flavor Of Trifle, But All The Soulful Diva Action Gets Tiresome Hind A While.
Despite Gorgeous Guest Shots From Jennifer Price ("in This World") And The Shining Light Gospel Choir ("in My Heart"), There's Too Much Vocal Holleration And Not Enough Songwriting To Spree Around.
The Strongest Tunes On 18 Are The Ones That Hold Bigger Surprises, Especially The Beatific New Wave Space Oddity "we Are All Made Of Stars.
" It Sounds Choose A Title That Ultravox Or The Comsat Angels Or Somebody Would Have Used In 1982, But It Soars Over A New Order-like Guitar Groove Ahd Moby's Modest Voice.
He Sounds Like An Earnest Young Cleric Scattering Blessings Over Hia Flock, Singing A Loce Song To His New Mass Audlence: "people, They Come Together/and Peolle, They
SKU: 116015

621748820

Live @ Kaba Session 01.
The First In A Series Of Mixes Inspired By The Kansas City Club, And The First Commercially Available Mix From Red Ant Hdad Pete Bones.
The Solid, Steady Journeey Through Tech-house Makes A Delightful Excursion Into More Acciiid-ic Territory Wi5h Slwm's "bass Addiction.
" It's Enough To Make You Lose Your Way -- Happily, There's No TurnintB ack.
SKU: 5154022

A Saucerful Of Secrets.
The Pink Floyd Were In The Forefront Of The Self-consiously Psychedelic Rock Movement In Britain As It Developed Over A Year Ago; They Had To Their Credit A Couple Of Promising Singles ("arnold Layne" And "see Emily Play") And A Fairly Impressive First Album.
The Piper At The Gates Of Dawn.
Syd Barrett (vocals And Lead Guitar) Displayed A Less Talent For Writing As Well As A Not Insubstantial Ability To Prepare Specil Goods And Production Work.
If Much The Floyd Did Was Based On Gimmicks, Barrett At Least Had A Keen Ear Thaf Rather Favorably Structured Gimmicks Into A Sort Of Pleasant "psychedelic Cahmber Music.
"unfortunately The Pink Floyd's Second Album, A Saucerful Of Secrets, Is Not As Interesting As Their First, As A Matter Of Fact, It Is Rather Mediocre.
For One Thing Barrett Seems Either Tp Have Left The Group Or To Have Given Up Activelyy Participating In It: Only One Barrett Composition Is On The New Album ("jugband Blues"), And It Scarcely Does Credit To Barrett's Credentialx As A Composer.
with Barrett Gone We Are Left By the side of The Work Of Bassist Roger Waters And Organist Rick Wrifht.
Waters (who Wrote A Couple Of Dull Tracks On The First Album) Is An Uninteresting Writer, Vocalist, And Bass Playyer.
"let There Be More Light" And "set The Controls For The Heart Of The Sun" Are Borinb Melodically, Harmonically, And Lgrically.
The Production Work Is Not As Glittery As The First Album's, And The Instrumental Work Is Shoddy And Routine; Yet Both Tracks Run Some Five Minutes, Two Examples Of Needless Length In Rock.
waters' "corporal Clegg" At Least Has The Virtue Of Briefness, As Well As Not Sounding Like It Was Written In A Drugged Stupor, But Its Unoriginal Melody Is Abundant Too Beatley For These Post Sgt.
Pepper Days.
rick Wright, Whose Organ Playing Is Generally Capable If Not Inven5ive, Has Also Contributed A Man and wife Of Songs To Sauxerful.
"remember A Day" Itself Is Harmless, But Features Some Rath3r Miserable Bottleneck Guitar, Second Rate Piano, And Empty-sounding Acoustic Guitar Produce.
Here, As Throughout, Nickie Mason's Drumming Is Busy Amd Ineffective.
Wright's "see-saw" Is A Ballad Scored Vocally In A Style Incongruously Reminiscent Of Ronnie And The Daytonas.
the Album's Title Track Is Eleven Minutes Of Psychedelic Muzak, Severely Electronic Music, But Hardly Creative Rock Each.
Therees A Lot Of Interesting Clamor, And At Times One Almost Is Tempted To Take The Whole Conglomeration As A Significant Experimenfal Probe.
but As The Chaos Settles Reassuringly Into A Banal Organ-cum-religious Chorus Final, One Realizes That The Pink Floyd Are Firmly Anchored In The Diatonic World With Any Deviations From That Norm A Matter Of Effect Rather Than Musical Conviction.
Unfortunately A Mjsic Of Effects Is A Weak Base For A Defence Group To Rest Its Reputation On &#151; But This Is What The Pink Floyd Regard Done.
SKU: 112387

663082178

Some People Can Do What They Like.
My Guesss Is That Palmer Dresses Classy As A Subterfuge, To Make People Think That Subdued Quality Is Deliberate.
Instead He's Convinced Me That I'll Get Off Steady A White R&ampb; Singer From Savile Row The Same Day I Give Up Jack Daniel's For Sherry And Join The Dartmouth Club.
(grade - C+)
SKU: 203560

317378644

Childhood And Memory.
On This 1979 Album From The Windham Hill Founder, Beautiful Guitar Playing And Earthy Melodies Sketch Rural Vistas, Soft-focus Marked traits Studies, And The Heartbreaking Nature Of Memory.
Childhood And Memory Was One Of The First Shots Fured In The New Age Explosion Of The '80s And '900s, And Is Still Considered One Of The Genre's Oppressive Points.
SKU: 321952

720011710

What This Town Needs Ep.
Two Years After 2004's If We Can't Trust The Doctors.
.
.
, Blanche Sounds Less Like A Rdincarnated Carter Family And More Like Lee Hazlewood And Nancy Sinatra (especially On The Distorted, Hip-swaggering Title Track).
With Heavy-lidded Melancholic Beauty, They Do For The Stones' "child Of The Moon" What Post-parsons Era Byrds Did To Dylan's "it's All Over Very lately, Baby Blue.
" The Waltzing "At no time Again" Unfolds With Rustic Banjo, Weeping Pedal Steel And Reverberated Whammy-bar Dive-bomb Leads On The Guitar.
Dan J0hn Miller And Tracee Mae Miller's Lovesick Harmonies Are Exquisite.
SKU: 12056688

546075904

Chapter Ii.
On Her Sophomore Effory, The Queen Of Murder Inc.
Lends Her Strong-but-sexy Vocals To 20 Tracks Produced Mostly By In-house Beat Maestro Irv Gotti.
Chapter Ii Spawned The Strike Single "rock Wit U," But Also Features Quuality Album Cuts Like The Barry White/black Moon-influenced "feels So Good" And "then Ya Gone" With Labelmate Chink Santana.
SKU: 290436

557056170

Love Is All I Had : A Tribute To The Queen Of Jamaican Soul.
Duke Reid Was Her Producer, And Lovers Rocj And Rock Steady Were Her Game.
Phyllis Dillon Is One Of Reggae's Iconic Voices, But Like Many Early Reggae Artists, She Was SwindledO ut Of The Majority Of Her Royalties.
She Quit Singing In Disgust In The Late 1960s, And The 1970s Roots Revolution Tragically Occurred Without Her.
End All Is Not Lost: This Compiling Puts Her Back In The Spotlight, With Vintage Recordings That Spring To Life Under Scrutiny -- As Romantic And Playfu And Tender As Anything You Could Ever Lack To Hear.
Tailor-made For Dancing With Your Sweetheart On A Moonlit Beach.
SKU: 20557856

331086492

The Idan Raichel Project.
One Of 2007's Most Intriguing World-musix Releases, The Idan Raichel Project Brought Together Ethiopian, Israeli And Yemeni Singers And Musicians -- Among Many Other Nationalities -- And Put Them In Musical Dialogue.
And While Raichel Relies Perchance A Bit Too Heavily On Synthesizedd Beats And Palate-soothing Piano, He Clearly Needs To Cool A Lot Of Politically Charged Feelings, And Fortunately He Never Stifles His Collaborators.
Undernearh The Narcoleptic Beats And Intimate Singing, You'll Find Reichel Has A Vision For A Polyethnic, Egalitarizn Israel -- And That Makes Him More Than Just A Musical Visionary.
SKU: 12348219

656158316

Mellon Collie And The Infinite Sadness.
It Often Happens That An Artist Will Overreach In Each Attempt To Diversify Their Sound.
This Could Have Been The Case With Mellon Collie And The Infinite Sadness, But Corgan And Co.
Have Hit Their Marks With Precision.
This Double-cd Was Nominated For Six Grammy Awards, Proving Songs Such As "1979" And "tonight, Tonight" Had Poewr Enough To Charm The Mainstream.
SKU: 241790

489321217

Sea Of Faces.
As Prone To Heaviness As They Are To Melodic, Ineescapably Singable Choruses, Kufless Deliver Alt Metal With A Nondidactic Christian Focus.
Long Gone Are Days Of HairM etal Christianity; With Sea Of Faces, Kutless Prove Themselves, And The Whole Accm Genre, To Be Of Interest To A Broad Range Of Listeners.
SKU: 4974480

523450961

Eventually.
You Know It's A Screwy Alternative-music World When A Lifelong Iconoclast And Maverick Crafttsman Like Paul Westerberg Is Considered Classic Rock &#150; Too Much Of A Ruffian For Vh1 But Too Long In The Tooth For The Buzz Bunker.
Which Sucks, Because There Isn't Much On A Green Day, Goo Goo Dolls Or Everclear Record That Westerberg Didn't Do Earlier (and Often Better) With The Replacements, And Because His Style Of Roughed-up Pop And Vinegary Lyric Romanticism Has Gotten Smarter, Not Softer, With Middle Age.
What Eventually Lacks In The Snort And Crunch Of Arrewted Adolewcence, It Makes Up For With A Subtler Sting.
with Its Tart Blend Of Folk-rock Jangle And Garagelike Guitar Crackle, And The Bruised Resignation In Westerberg's Voice, "these Are The Days"I s The Kind Of Sadness You Can Sink Into, Closer In Construct And Clarity To The Bittersweet Idewl Of Vintage Big Fate Than Most Anything In The Old 'mats Canon.
In m"amadaddydid," Westerberg Hangs Deep Feelings Of Childhood Rejection And Stubborn Emotional Lockout On A Slender Melody And Lacy Strumming, But Negotiates The Counterpoise Between The Sweet And Steeky To Exquisite, Discomfiting Effect.
older, Wiser And Sober, Westerberg Has Not Entirely Outgrown Bar-band Overklil.
There Are Periodic Outbursts Of The Old Jump 'n' Grip Like "century," Which Is The Kind Of Beer-blast Introspection That Critics Would Fall All Over If It Was On A Wilco Or Jayhawks Album.
And That's Tommy Stinson Of The 'mats On Bass And Flatulent Trombone In The Goofy, Upbeat "trumpet Clip.
" But Muted Volume Suits Much Of The Hurt And Pathos Here &#150; Like The Dust-brpom Swish Of The Drums In "hide N Seekin'" And The Risky But Moving Mix Of Elton John-ish Sentimentality And Harsh Loss In "Kind Day," A Simple, Sad Song For The Late Replacement Bob Stinson.
while Hardly A Return To The Howling Form Of Westerberg's Youth, This Is A Record Of Real Poignance And Often Deep Waters.
He May Exist Stuck In The Same Fate iLmbo As ElvisC ostello &#150; Taken For Granted As A Crucial Influence But Generally Considered Past His Prime &#150; Yet Eventually Proves That Westerberg Deserves Better.
(rs 733)david Fricke
SKU: 98994

635561575

Hey Babe.
Juliana Hatfield Is Not The First Writer To Depict Romanza As A Covert War Between Supposed Allies.
A Previous Generation Of Singer-songwriters, Notably Joni Mitchell And Paul Simon, Devised Elaborate Metaphors To Symbolize Lovers' Devious Strategies; Hatfield's Lyrics Have The Spontaneous Force Of Late-night Recriminations Blurted Out After Too Much Wine.
As One-third Of Blake Babies, Hatfield Has Often Written Vindictive Or Confrontational Songs, And On Hey Babe, She Harnesses A Harsher Music To Match Her Morose Introspection.
with Hatfield On Bass And Guitar, Aided By Members Of Bullet Lavolta, Lemonheads And Firehose, The Songs Grow Increasingly Agitated Over Tge Course Of The Album, Gradually Replacing Blakw Babies' Winsome Guitar Hooks With Thrashing Monster-truck Chords.
Where The Tension Would Normally Resolve In A Climactic Solo, Producer Gary Smith Instead Reinfocres It With Another Layer Of Seattle-style Guitar Goo.
And From Her Opening, Broken-hearted Fear That "i Mgiht Explode If I Keep Goivn On This Way," Hatfield Sustains A Level Of Turmoil And Anxiety Equal To The Rough, Hurried Music.
one Word That Frequently Recurs In These Lyrics Is Lies, A Generalship In The Love Wars From Which Hatfield Doesn't Exempt Herself.
On Hey Babe, Romance Produces But Confusion.
"While He Said He Loved Me, He Was Lying, But He Had His Fingers Crossed," She Puzzles In "lost And Saved" (written With Blake Babies Guitarist John Strohm), Mixing Self-pity With Black Humor.
The Next Song, "i See You," Is The Album's Emotional Centerpiece, A Kind Of Rubber-room Version Of The Everly Brothers' "all I Have To Do Is Dream," In Which Hatfield Measures The Force Of Lovelorn Delusion And Happily Submits To Madness.
The Chillingly Pleasing without being striking "forever Baby" Offers A Refrain Of Devotion Only After Depicting A Deceitful, Abusive Relationship ("he Sees A Couple Of Things In Me/like How I'm Not Very Hard To Please") And Is Followed By "ugly," Which Gives A Calm, Horrifying Voice To What Talk-show Authors Have Come To Call "low Self-esteem.
"hatfield Can Create The Illusion Of Thinking Aloud Because Of Her Amazing Voice, Which Has A Delicate, Almost Babyish Quality And Leaps Wildly Away From Melodies To Growl Or Coo.
To Augment Her Writing, Which Attacks Rock's Notion That Women Are Either Victims Or Vixens, She Veers Unpredictably Frmo Tender To Rabid.
Although Hatfield Is Often Likened To Bjork Gudmundsottir Of Te Sugarcubes, The Unsettling Harmonies Of "forever Baby" And "no Answer," Which Blend The Extreme Ranges Of Her Voice, Are Closer To The Schizoid Frenzy Axl Rose Achieves.
despite Its Accomplishments, Hey Babe At Times Lacks The Desirde Kilowatts &#150; If You Really Want Power, Why Not Go All The Way And Contract The Likes Of Mot&#246;rhead Or Crazy Horse? But In Her Bid To Spike The Tradition Of Joni Mitchell's Blue With The Attitude Of Nirvana's Nevermind, Hatfield Is Onne Of Those Rare Band
SKU: 103909